TM Broadcast International #148, December 2025

M E D I A , B R O A D C A S T & I N S TA L L AT I O N

TM

Broadcast

I N T E R N A T I O N A L

M E D I A , B R O A D C A S T & I N S TA L L AT I O N

TM

Broadcast

END-OF-YEARSPECIAL

I N T E R N A T I O N A L

Thebroadcast industry at aturningpoint: technology, talent andnewmodels

M E D I A , B R O A D C A S T & I N S TA L L AT I O N

› Artificial intelligence › Talent shortage › Convergence of broadcast and ProAV

TM Broadcast International #148 December 2025

› Interoperability and collaboration ›T ransition to IP: a hybrid approach ›L imited resources and public cloud › The case of Brazil and TV 3.0 › LED and softwarebased systems

TM

Broadcast

I N T E R N A T I O N A L M E D I A , B R O A D C A S T & I N S TA L L AT I O N

TM

Broadcast

I N T E R N A T I O N A L

M E D I A , B R O A D C A S T & I N S TA L L AT I O N

TM

Broadcast

I N T E R N A T I O N A L M E D I A , B R O A D C A S T & I N S TA L L AT I O N

TM Broadcast International: exclusive content with a global outlook

www.tmbroadcast.com

EDITORIAL The broadcast industry closes 2025 as it

From this collective analysis, several common

approaches a key technological threshold. The

themes emerge, structuring today’s debate and

sector is undergoing a profound transformation,

forming the backbone of this special feature. These

opening up new opportunities while also bringing

include artificial intelligence, and its evolution from

significant challenges to the surface. This

“what can be done” to “what should be done”; the

transition is now unavoidable. However, when

shortage of talent as one of the sector’s major

it comes to putting it into practice, difficulties

bottlenecks; the progressive convergence of

arise that go beyond purely technological issues,

broadcast, enterprise, IT and ProAV; interoperability

forcing the industry to rethink operating models,

and collaboration, which are beginning to move

organisational structures and strategic priorities.

from theory into practice; the transition to IP through a hybrid approach; the dilemma between

As the year draws to a close, this issue aims to provide a snapshot of the current state of the market while also anticipating some of the key factors that will shape the road ahead in 2026.

limited resources and the use of public cloud; the case of Brazil and the development of TV 3.0; and, finally, the growing momentum behind LED solutions and software-based systems.

To this end, as is customary, we have turned to some of the industry’s most authoritative voices:

We recommend this special feature to all

a selection of leaders who have collaborated with

professionals looking to start the new year with an

the magazine throughout 2025 and whom

informed, contextualised and realistic view of the

we asked to offer a review of the year, a look

challenges and opportunities facing the industry.

ahead to the coming months, and a broader reflection on the drivers that will fuel the sector’s

Finally, on behalf of the entire TM BROADCAST

growth in the medium and long term.

team, we wish you a happy 2026.

Editor in chief Javier de Martín

Key account manager Patricia Pérez

editor@tmbroadcast.com

ppt@tmbroadcast.com

Creative Direction Mercedes González

Administration Laura de Diego

mercedes.gonzalez@tmbroadcast.com

administration@tmbroadcast.com

Chief Editor Daniel Esparza

press@tmbroadcast.com

Editorial Staff Bárbara Ausín Carlos Serrano

TM Broadcast International #148 December 2025

Published in Spain ISSN: 2659-5966

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oficina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

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SUMMARY 6

News

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ANALYSIS

DTT on mobile: outlook for 5G Broadcast in Europe

By David Fernández Quijada, Co-Founder and Research Director, South 180.

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END-OF-YEAR SPECIAL

The broadcast industry at a turning point: technology, talent and new models › Artificial intelligence: from what can be done to what should be done › Talent shortage: the major bottleneck › Convergence of broadcast, enterprise, IT and ProAV › Interoperability and collaboration: from theory to practice › Transition to IP: a hybrid approach › Limited resources and public cloud: the cost dilemma › The case of Brazil and TV 3.0 › Growing momentum for LED solutions and software-based systems

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TRENDS

Cybersecurity: The cornerstone of the new broadcast era — A guide to a secure transformation We explore the main challenges faced by the broadcast industry — and the keys to overcoming them — with insights from Deloitte.

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INDUSTRY VOICES

Craig Heffernan, EMEA Director at Blackmagic Design: “We’ve often found that AV customers are faster at testing and investing in new technologies”.

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SHOWS

BITAM Show strengthens its international profile, driven by business opportunities in Spain The leading annual trade show for the Spanish audiovisual market recorded a stronger international presence at this year’s edition than in previous years.

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TM BROADCAST achieves a historic audience record in 2025 after growing its readership by 202%

TM BROADCAST INTERNATIONAL achieved the highest audience figures in its history in 2025.

The magazine, firmly established as a key media outlet in the broadcast and audiovisual production sector, recorded an average of 89,272 monthly unique users on its website this year (pending the final figures for December), representing a 202% increase compared to the equivalent figure in 2024.

As for the online monthly magazine, TM BROADCAST has also experienced positive growth, reaching an average of 56,695 readers per month, slightly above the previous year. This format has thus consolidated its position as a reference space for the publication’s most influential and loyal readers, who seek a more in-depth and analytical

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approach to current industry developments.

On LinkedIn, meanwhile —where the magazine’s presence had so far been limited—TM BROADCAST has recorded growth of over 100% in follower numbers, approaching the 1,000-follower mark, following the reinforcement of its strategy on this platform throughout 2025.

These results are the outcome of an ambitious new phase launched at the beginning of 2025, which will continue and gain further momentum throughout 2026. Coinciding with the start of 2025, TM BROADCAST strengthened its editorial leadership with a clear objective: to accelerate its adaptation to the digital environment without compromising the prestige and credibility built over more than a decade.

One year on, the results have exceeded all expectations—and, as readers will have noted, without altering the publication’s DNA. As a specialised technical media outlet, TM BROADCAST remains committed to delivering useful, rigorous and exclusive information, aimed at an audience of executives, technical managers and purchasing decision-makers across the entire audiovisual production chain.

Looking ahead to 2026, TM BROADCAST will take a further step forward with the launch of a new website, featuring a refreshed design and an optimised structure to enhance the reader experience. The magazine will be sharing more details about this project in the near future. 

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A Clash of titans in the global AV industry: Key factors behind the Netflix, Paramount and WBD battle The battle over the acquisition of Warner Bros. Discovery between Paramount and Netflix continues, keeping the audiovisual landscape on edge. For weeks, the industry has been stirred by the expectation of finding out who will ultimately take control of the well-known Hollywood production company.

On December 5, Netflix issued a statement announcing the purchase of Warner Bros. for $82.7 billion. This transaction is planned to take place after the previously announced separation of WBD’s Global Networks division, Discovery Global.

Paramount did not accept what was presented as the final decision. As a result, it challenged the company by launching a hostile takeover bid that surpassed its rival’s offer, amounting to $108.4 billion.

In light of these events, the response of the three parties involved as of December 18 was as follows: WBD’s Board of Directors described Paramount’s offer as

“illusory” and recommended that shareholders reject it, sending them a letter detailing its decision. The text noted that none of its reasons should come as a surprise to PSKY “given our clear and frequently repeated response to its six previous proposals.” It also described the merger with Netflix as “extraordinary.”

Likewise, after clarifying the differences between both proposals, they stated that accepting Paramount’s offer “could generate significant additional costs for shareholders, which PSKY has ignored in its communications.”

In response to these recommendations, the bidders replied.

Paramount rejected the Board’s unanimous decision and expressed confidence that it would receive timely regulatory approval because it “would enhance competition in the creative industries rather than entrench a dominant streaming monopoly, which the transaction with Netflix would create.”

David Ellison, Chairman and CEO of Paramount, explained: “We remain committed to bringing together two iconic Hollywood studios to create a unique global leader in entertainment.

Our proposal clearly offers WBD shareholders superior value and certainty, a clear path to closing, and does not leave them with a scaled-down, heavily indebted linear business.

I have welcomed the feedback from WBD shareholders, who clearly understand the benefits of our offer. We will continue moving forward to complete this transaction, which is in the best interests of WBD shareholders, consumers, and the creative industries”.

Netflix, for its part, agreed with the decision and sent its own letter to WBD shareholders.

The text explained why its transaction was superior in several respects.

Ted Sarandos, Netflix co-CEO: “Netflix and Warner Bros. complement each other, and we're excited to combine our strengths with their theatrical film division, world-class television studio, and the iconic HBO brand, which will continue to focus on prestige television. We're also fully committed to releasing Warner Bros. films in theaters, with a traditional window, so audiences everywhere can enjoy them on the big screen”. 

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85% of media companies plan to move to unified platforms by 2027 Pixitmedia by DataCore’s inaugural global State of Media Archiving survey has revealed a decisive industry shift in media and entertainment (M&E), with 85% of respondents planning to migrate to a horizontally integrated approach to their asset and media management, as it has claimed in a statement.

This signals a clear departure from fragmented, multigeneration systems, as integration costs, data silos, and inefficient collaboration increasingly threaten operational scalability and efficiency.

The survey, which questioned 330 M&E professionals, identifies the main drivers of this transition as rising integration costs, multi-generational legacy system complexities, and siloed data libraries that hinder scalability and cross-team collaboration. Nearly half of respondents (45%) cite automation, metadata enrichment, and third-party integration, as key workflow challenges.

In response, three quarters (76%) of organizations plan to increase technology budgets over the next 12 months to modernize

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archiving capabilities to support content-intensive operations.

As of 2025, only 6% of M&E companies have fully migrated to a single platform approach to media archiving. Digital service providers (10%) and houses of worship (7%) lead early adoption, while TV and video broadcasters remain the slowest, with just 3% completed and 10% reporting no migration plans. Adoption intent, however, is strong. 75% of houses of worship are currently evaluating ROI and business benefits, and all sports franchises surveyed plan to migrate within the next 24 months.

Hybrid deployments continue to dominate across M&E strategies, preferred by 42% of respondents.

Looking ahead, 40% expect hybrid setups to remain their preferred configuration in 2026. Adoption varies by sector, with houses of worship (69%) and enterprise video teams (58%) leading the way. Currently, a quarter of respondents (25%) favour on-premises deployment, a figure expected to rise to 31% among those planning to host media archiving workflows in-house over the next 12 months.

AI-driven media archiving is now a top priority across nearly every M&E segment. Up to 39% of studios and 46% of enterprises are embedding AI/ML to enhance content operations. Almost half (45%) of respondents cited operational productivity as the primary benefit of AI/ML integration in media archiving workflows, with metadata enrichment, automated search, and deduplication the most in-demand AI capabilities.

“Our findings underscore what many in the industry already feel: traditional, siloed media archiving systems can’t keep up, and workflows must evolve to meet new operational realities”, shares Barry Evans, SVP of Product Development, Pixitmedia. “With data and content libraries expanding across both traditional and digital-native segments, migrating to a unified, horizontally integrated approach enables companies to streamline operations, support collaboration across regions, and position themselves for sustainable growth in an increasingly contentdriven market”. 

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EBU and public broadcasters develop a new animation production for kids

The European Broadcasting Union (EBU), France Télévisions and Cartoon have announced a new collaborative animation production project, developed for young audiences across Europe, as EBU has claimed in a statement.

Following a selection process, French production ‘Elle(s)’ was chosen from over 70 projects presented at the 2025 edition of Cartoon Forum, a pitching & co-pro forum for animated TV projects.

Produced by GO-N Productions and aimed primarily at viewers aged 9–12, with broader appeal for teens, ‘Elle(s)’ is an animated adaptation of the graphic novels

by Kid Toussaint and Aveline Stokart, published by Le Lombard.

Across eight serialized episodes in 3D animation, the series explores the life and inner world of Elle, a seemingly ordinary 15-year-old trying to navigate

the everyday challenges of high school until her subconscious takes over in dramatic fashion.

A high-concept, genre-bending series, ‘Elle(s)’ examines identity, emotion, and coming of age through a bold visual metaphor.

Under the coordination of EBU Television, and at the initiative of France Télévisions and Cartoon, a group of 9 public service broadcasters have committed over €60.000 to the development of the series.

‘Elle(s)’ will be the fourth series developed within the EBU Animation Co-Development initiative following ‘Ray & Ruby’ (Creative Conspiracy), the tale of adventurous mouse twins, ‘Pig & Andersen’ (Fleng Entertainment ApS), a quirky comedy inspired by the world of Hans Christian Andersen, and ‘My Life is a Manga’ (Brain Comet/Blue Spirit), which tells the story of a 13-year old girl who transforms her life into a manga story.

Matthew Trustram, Head of Television, EBU, explains: “Serving young audiences is a core mission of public service media, and it’s a mission we fulfil best when we work together.

Our animation co-production initiative brings broadcasters into close collaboration, enabling them to support independent creators and develop standout content – such as ‘Elle(s)’ – for children across Europe. By joining forces in this way, we are safeguarding a diverse and thriving European animation sector in an increasingly competitive world”.

Development materials from ‘Elle(s)’ will be delivered at Cartoon Forum in 2026, after which EBU Member broadcasters will be able to exercise a first-look option to acquire rights to the series.

Participating Broadcasters › France Télévisions (Lead Broadcaster) › RTBF (Belgium) › VRT (Belgium) › ARD/SWR/HR (Germany) › DR (Denmark) › YLE (Finland) › BBC (UK) › RTE (Ireland) › RAI (Italy) 

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Priya Dogra, new Chief Executive of Channel 4 The Channel 4 Board has announced the appointment of Priya Dogra as the next Chief Executive of Channel 4.

Priya will join Channel 4 in March 2026, as the Corporation has claimed in a statement.

Priya, who is currently Chief Advertising, Group Data & New Revenue Officer at Sky, has more than 20 years’ experience in the media industry in the US, EMEA and the UK, spanning operations, programming, production, strategy, mergers and acquisitions, and business development.

In her current role, she oversees Sky Media, the company’s advertising sales house, its data and analytics capabilities and the development of non-subscription revenues. She recently spearheaded Universal Ads, a cross-industry initiative between Sky, ITV and Channel 4, alongside Comcast’s FreeWheel, to create a self-serve trading platform that opens up TV advertising to small businesses.

Prior to joining Sky, Priya spent 14 years at Time Warner / WarnerMedia and Warner Bros.

Discovery. Most recently, she served as President & Managing Director for Warner Bros.

Discovery EMEA with responsibility for programming and production, marketing, advertising, commercial partnerships across networks, streaming, theatrical distribution and content licensing.

She also led local original series production for HBO and HBO Max. Earlier, she headed Mergers

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& Acquisitions and Corporate Strategy at Time Warner / WarnerMedia, overseeing M&A and investment activity and advising three CEOs on strategic initiatives. Priya began her career in investment banking at Citi, covering clients in the media and telecoms sectors.

Geoff Cooper, Channel 4 Chair, shares: “I am delighted that Priya Dogra will become Channel 4’s eighth Chief Executive Officer.

Priya is an outstanding executive, a visionary leader and has a formidable intellect. She has impressive experience in driving commercial growth and digital transformation, as well as building collaborative partnerships, alongside a track record of nurturing creative processes, delivering effective programming strategies and building content production capabilities. She also possesses a passion for Channel 4 and a deep understanding of its public service remit. Priya is ideally equipped to lead the business through its next chapter, and we are thrilled to welcome her aboard”.

Priya Dogra affirms: “Joining Channel 4 at this moment is a genuine privilege. Few organisations sit so firmly at the heart of British culture or have such a clear purpose and vital mission: to challenge, to reflect and represent voices across the UK, and to spark change through entertainment. I very much look forward to working with the brilliant team at Channel 4

Priya will become Channel 4’s eighth Chief Executive in its 43-year history. Previous Chief Executives were Alex Mahon (2017 to 2025), David Abraham (2010 to 2017), Andy Duncan (2004 to 2009), Mark Thompson (2002 to 2004), Michael Jackson (1997 to 2001), Michael Grade (1988 to 1997) and Jeremy Isaacs (1982 to 1987).

and with partners across the creative industries to build on its distinctive and ground-breaking programming and reporting, accelerate its digital ambitions, and deepen its connection with audiences across every platform”.

Geoff Cooper adds: “I would also like to sincerely thank Jonathan Allan for his impressive leadership as Channel 4’s Interim CEO. Jonathan has stepped up to guide Channel 4 through the second half of the year with skill, insight and energy. His steady hand on the tiller has helped Channel 4 move forward through the choppy market conditions in the last part of the year. The Channel 4 Board is extremely grateful for his contribution”.

Jonathan Allan will continue in the role of Interim CEO until then. 

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The UK-based studio Dimension joins Journey The experience agency Journey has acquired Dimension in its strategy to reimagine design and production across multiple mediums, and to forge lasting value for audiences and partners alike. This partnership, which also includes the other studios across their portfolio, has the objective of delivering new shows and productions at scale on the global stage, as Dimension has claimed in a statement.

Additionally, the acquisition looks forward to allowing a major investment in the technology platform that the company uses to deliver content to media producers and production companies all over the world.

Dimension joins Journey’s global family of studios: 59, Squint/Opera, ICRAVE and VMI. The transaction was supported by private equity firm Growth Catalyst Partners, which targets investments in tech-enabled creative businesses.

“We’re really excited to become a part of the group of companies that sit under the Journey banner and are happy to have the opportunity to scale our combined capabilities across design, media, and nextgeneration production”, shares Dimension.

It also affirms that they will continue to focus on delivering work for their existing clients and partners, without changing how they do that. Co-CEOs Steve Jelley and Simon Windsor, and CTO Callum Macmillan will continue to run the studio as they have done up until this point.

Commenting on the deal, Jelley adds: “Dimension is a trusted partner and co-producer for filmmakers everywhere, helping them to embrace the creative potential of Realtime, virtual and AI production technologies. It provides opportunities for everyone

to expand those partnerships to deliver amazing experiences in any medium”.

Windsor continues: “This partnership is as much about people as it is about virtual production and technology.

Journey’s design-led ethos aligns perfectly with our culture of creative experimentation and production innovation.

Together, we can empower clients and visionary creators to tell stories in ways the world has never seen”.

“At Journey, we believe the future of design belongs to those who can bridge imagination, storytelling, and technology”, notes Andrew Zimmerman, CEO of Journey.

“Dimension embodies that philosophy completely.

Together, we’re not just creating new forms of content; we’re inventing new ways for people to experience the world”. 

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Czech TV deploys a major investment to upgrade its 10-OB fleet with LiveU’s bonded IP technology

Czech Television, the national public broadcaster, has deployed one of the largest LiveU live production projects in the region for live sports and news coverage, using LiveU’s on-site production solution. The project, designed and implemented with LiveU’s partner Smart Informatics, equips 10 Outside Broadcast (OB) vans with LiveU’s bonded IP technology, aiming to enhance its live production workflows, as LiveU has claimed in a statement.

Until now, Czech TV relied heavily on satellite and landlines to power its OB fleet. This project introduces LiveU’s LU810 fixed encoders and servers into the vans. The company affirms that the deployment is unique in Europe because of its inter-van interconnectivity at scale, allowing

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OB vans to connect to central facilities and to interchange live feeds with each other across different locations. With the OB vans serving as mobile studios, multiple channels can be sent instantly to the master control room (MCR), and signals sent back as a video return. The setup is used for both the production of lower tier sports games and news stories around bigger international events.

“This project represents a major step forward for Czech Television, underscoring our commitment to innovation. Leveraging LiveU’s IP contribution technology, we can modernize our fleet – no longer bound by the limitations of costly satellite and not available landlines. We can provide live coverage for any sport, at every level – whether it’s football, ice

hockey, or a triathlon, our OB vans can now connect anywhere, instantly, and exchange feeds between each other and with our master control room in Prague”, explains Antonin Svach, Head of OB department, Czech TV. “LiveU has been a trusted global newsgathering partner for years with their portable field units; this deployment shows the confidence we have in the reliability of their solutions for live sports as well”, Svach continues.

“With the deployment of bonded IP connectivity, Czech TV has achieved a new level of production agility, transforming its OB fleet into a fully connected, mobile studio ecosystem capable of going live remotely from anywhere” said Dariusz Grudzień, Regional Sales Director, LiveU.

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“This project demonstrates both the trust Czech TV has placed in LiveU and the flexibility of our technology to integrate into traditional OB workflows. It’s truly unique in terms of size and scale for our region”.

Antonin Svach, Czech TV adds: “Moving slowly away from a satellite and landlines-only models was essential for us. This new

hybrid setup, delivered with Smart Informatics, makes our OB fleet future ready. With bonded IP connectivity at the heart of our workflow, we can adapt to any production requirement, from small competitions to national broadcasts”.

Smart Informatics, the local systems partner, supported Czech TV in designing, integrating,

and delivering the complex workflow. “From the proof-ofconcept in 2023 to today’s full rollout, we worked side by side with Czech TV to create a futureready solution”, concludes Tomas Vesely, Smart Informatics. “The reliability and flexibility of LiveU’s technology ensures Czech TV and other customers can adapt to any production scenario”. 

NBCUniversal announces the launch of its new sports network NBCUniversal has announced the new NBC Sports Network (NBCSN) will officially launch next Monday, November 17.

The 24/7 linear network will feature a range of marquee sporting events and programming from NBC Sports, as NBC has claimed in a statement.

NBCSN will be available exclusively through participating pay-tv distributors, launching first for all YouTube TV subscribers and soon on Xfinity, with other distributors to be announced at a later date. It will include live games across major sports, giving pay-TV customers a way to access NBCUniversal’s sports portfolio that also streams on Peacock.

“NBCUniversal delivers the biggest moments in sports, and the new NBC Sports Network gives pay-tv customers a seamless way to enjoy the wide range of sports in our portfolio, adding an important pillar in our linear and streaming strategy.

NBCSN is a win across the board – driving value for fans and distributors who prefer an aggregated experience, league and conference partners seeking broad reach, and advertisers targeting engaged sports audiences – while also creating a new monetization path for some of our most premium programming and supporting NBCU’s commitment to serving viewers wherever they watch, whether on Peacock, pay-tv, or both”, explains Matt Schnaars, President, Platform Distribution and Partnerships, NBCUniversal Events and programming on the new NBC Sports Network: ›M onday Night NBA games and NBA Playoffs ›E xpected to include dozens of MLB regular-season and select post-season games in a soonto-be-announced agreement ›P remier League soccer matches ›G old Zone hosted by Scott Hanson (daily whip-around

coverage for Milan Cortina Olympic Winter Games in February 2026) ›W NBA Regular Season and Playoff games ›B ig Ten and Notre Dame Football ›B ig Ten, Big East and Big 12 Men’s and Women’s Basketball ›G olf Majors (includes select coverage of U.S. Open and The Open Championship) ›C ycling (Tour de France, Tour de France Femmes; Vuelta a España, and more) ›K entucky Derby and Kentucky Oaks undercard races ›O lympic Sports (e.g., Figure Skating, Ski & Snowboard, Gymnastics, Swimming, Track & Field) ›P opular shows, including PFT Live, The Dan Patrick Show, The Dan Le Batard Show, and Fantasy Football Happy Hour with Matthew Berry 

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Grass Valley delivers China’s first UHD IP OB truck

Grass Valley recently delivered a 4K Ultra-High-Definition (UHD) outside broadcast (OB) truck to Guangdong Radio and Television (GRT), in partnership with Beijing Sailing Hightop Technology Development Co., Ltd. The handover ceremony, attended by senior executives from GRT, Sailing Hightop, and Grass Valley, looks forward to marking a milestone in China’s evolution toward next-generation IP-based broadcast technology, as Grass Valley has claimed in a statement.

During the ceremony, a spokesperson for Sailing Hightop expressed appreciation to all project partners, noting that collaboration across system design, integration, and commissioning ensured the project was completed on time and on budget. According to the spokesperson of GRT, the new OB unit is designed with the intention of enhancing the broadcaster’s ability to produce and transmit large-scale sports and entertainment events in 4K UHD. The new OB truck is the first Native-IP UHD system in China,

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representing a shift away from traditional baseband infrastructure. By adopting a fully IP-based architecture, the unit is equipped with Grass Valley’s LDX 135/150 cameras and the Grass Valley K-Frame CXP switcher. The system supports 4K and 8K live production with HDR and WCG capabilities, while its distributed workflow aims to enable realtime remote collaboration and future cloud deployment via GV Orbit SDN and AMPP (Agile Media Processing Platform). The design also maximizes space and energy efficiency and enables multi-platform content delivery through native landscape and portrait conversion.

“This project is a powerful example of what’s possible when innovation, collaboration, and vision come together”, affirms Alain Wang, Sales Director for China, Grass Valley. “We’re proud to support Guangdong Radio and Television and Sailing Hightop in delivering China’s first Native-IP UHD OB truck, a future-ready solution that sets the standard for 4K and 8K live production in the region”. 

Net Insight’s CEO Crister Fritzson retires in 2026 Crister Fritzson, CEO of Net insight, has informed the Board that he will retire in 2026. The Board will immediately begin the process of recruiting a new CEO. Crister Fritzson will remain in his role until a replacement is appointed or until June 1, 2026, at the latest, as the company has claimed in a statement.

“Net Insight is an outstanding company, and I am proud of the privilege of having led and developed the company for six years together with all our fantastic employees”, affirms Crister Fritzson. “We have continued to develop innovative solutions, refine our technology and drive development forward. In doing so, we have further strengthened our leading position within media solutions and successfully launched a groundbreaking new product – time synchronization for critical networks”. 

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MediaKind acquires Harmonic and creates the first independent streaming-infrastructure platform

MediaKind has announced it has entered into an agreement to acquire the Video Business of Harmonic for approximately $145 million. Following a French employee works council consultation process, the parties would immediately execute a purchase agreement, and the transaction would be expected to close in the first half of 2026, subject to customary regulatory approvals and closing conditions, as the company has claimed in a statement.

The objective of the transaction is to create a the #1 independent SaaS streaming infrastructure provider by combining two video technology organizations with complementary strengths in SaaS streaming, appliance platforms, and cloud AV workloads. The combined company is expected to serve a blue-chip customer base, generate more than $100 million in annual recurring revenue (ARR), over $150 million in annual appliance revenue, and, as a business 100% focused on video, create an enhanced

foundation for long-term growth.

Additionally, this transaction looks forward to strengthening financial and operational stability.

By uniting engineering teams, R&D centers and product road maps, MediaKind will focus on bringing video solutions to market faster.

“This combination would represent a meaningful step forward in our long-term strategy and reflect our commitment to supporting customers with enhanced product solutions”, affirms Allen Broome, CEO of MediaKind. “By joining Harmonic’s Video Business with MediaKind, we would strengthen our ability to invest across our entire portfolio, led by an expanded and complementary research and development platform that will significantly accelerate innovation. Together, we would create the leading independent streaming infrastructure company, giving customers a stronger, more reliable partner to power the future of video”.

Nimrod Ben-Natan, president and chief executive officer of Harmonic adds: “This strategic transaction will, if completed, advance the growth strategies of both companies. It would allow Harmonic to zero in on its core Broadband segment, while ensuring the Video Business, its customers and dedicated employees become part of an organization committed to the future of video delivery.

We are incredibly proud of our Video team’s accomplishments and look forward to the next chapter of this business’s growth under MediaKind”.

Advisors: Davis Polk & Wardwell is serving as legal advisor to MediaKind, and Moelis & Company LLC is serving as exclusive financial advisor.

Wilson Sonsini Goodrich & Rosati, P.C. is serving as legal advisor to Harmonic, and Jefferies LLC is serving as exclusive financial advisor. 

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Broadcast Solutions Connect: a new business unit for workflow and systems planning Broadcast Solutions has launched a new business, aimed at providing consultancy and design services across the media industry. Broadcast Solutions Connect is the result of a merger between Thum + Mahr GmbH, a systems integration specialist which was already part of the group and Broadcast Solutions Produkte und Service GmbH, as the company has claimed in a statement.

The new business will be based in Monheim am Rhein, with another office in Frankfurt and representatives in the UK and France. The company focuses on providing specialised services for the broadcast and media industry, including consulting, system architecture and workflow solutions, project management, managed services, coaching and support, coupled with a range of professional broadcast equipment.

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Heading Broadcast Solutions Connect will be Maximilian Breder, Co-CEO of the Broadcast Solutions Group. He is joined in the leadership group by Bernhard Steinhoff, formerly COO of Thum + Mahr, and by Martin Schwöri, formerly COO of Broadcast Solutions Produkte und Service.

“By combining forces we are bringing a broad range of skills into a focused, targeted unit”, Maximilian Breder explains.

“From key locations we look to the worldwide market, driving forward the core Broadcast Solutions values of practicality, innovation and reliability.

Broadcast Solutions Connect will work alongside our colleagues in system integration, providing the best practical solutions to our valued customers”.

Martin Schwöri adds: “We will of course continue to offer our

products for sale, and support those who use them. What this new venture emphasises is our goal of ensuring we identify the real requirements of our clients, digging deep into their operations and their goals, and finding the best way to reach those goals”.

Bernhard Steinhoff continues: “By bringing the combined experience from Broadcast Solutions Produkte und Service and Thum + Mahr into a single pool, we can greatly enhance our offering and really deliver value.

It also gives us a larger workforce with an even greater spread of skills, giving us the flexibility to tailor our services precisely to the needs of each project”.

Broadcast Solutions Connect will have an initial workforce of around 20 people, and will commence operations beginning 2026. 

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Lawo and SMPTE launch an immersive training program using ST 2110 standards

Lawo has partnered with SMPTE and industry partners to introduce the SMPTE ST 2110 Practical Lab. This immersive training program is designed with the objective of accelerating the industry’s migration from SDI to IP workflows, as Lawo has claimed in a statement.

The SMPTE ST 2110 standards define the transport of professional media— uncompressed video, audio, and ancillary data—over IP networks.

As broadcasters adopt IP-based infrastructures, mastering ST 2110 workflows is critical for engineers, system integrators, and technical managers.

The Practical Lab, hosted at Lawo’s headquarters in Rastatt, Germany, looks forward to offering participants an environment to design, synchronize, and troubleshoot live-production IP networks.

It is build on SMPTE’s structured education pathway, which includes: › Introduction to SMPTE ST 2110 (Independent study) — ongoing enrollment throughout 2026. › Understanding SMPTE ST 2110 (Instructor-led, virtual/online) — in-depth technical exploration of ST 2110 with peer learning through an online flipped classroom model. › SMPTE ST 2110 Boot Camp (Intensive instructor-led, virtual/online training) — the next Boot Camp session to be held in January.

Following these courses, professionals can apply their knowledge in real-world scenarios using Lawo’s solutions, including the A__mic8 audio stagebox, .edge SDI/IP gateway, VSM, HOME management platform, and HOME Apps.

Dates ›S MPTE ST 2110 Boot Camp: 12 January 2026 till 30 April 2026 ›P ractical Lab: Booked after the Boot Camp or SMPTE ST 2110 course and offered remotely during a 1-day self-paced list of hands-on exercises.

Discover the details of the Lawo SMPTE partnership here.

“The transition to IP is one of the most significant evolutions in broadcast technology”, affirms Wim Van Roy, Educational Architect at Lawo and 2025 Education Director at SMPTE. “By partnering with SMPTE and the wider industry, to deliver this Practical Lab, we’re empowering professionals to confidently design and operate ST 2110 workflows—supporting the industry’s future towards Dynamic Media Facilities powered by SMPTE ST 2110 standards”. 

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ANALYSIS

ANALYSIS | DTT on mobile: outlook for 5G Broadcast in Europe

By David Fernández Quijada, Co-Founder and Research Director, South 180 Over the past decade, broadcasters have observed audiences progressively migrating to digital spaces, notably mobile devices. This has been particularly dramatic among younger audiences, to the extent that broadcasting has become an alien delivery mode to them.

Broadcasters have not been agile enough in their pivot to digital, leaving them behind their audiences. This gap is most evident in the mobile space, primarily due to the gatekeeping role of mobile network operators.

5G Broadcast aims to fix this.

In a recent report, we analysed the potential of this emerging technology, developed by broadcasters for broadcasters.

“In 2030, precisely, the FIFA World Cup could be the landmark event that raises awareness among users and boosts the adoption of 5G Broadcast” What is 5G Broadcast?

5G Broadcast delivers live broadcasting to mobile devices using the UHF band currently used by digital terrestrial television (DTT).

Consequently, it does not require new infrastructure

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but can use the existing towers that ensure universal population coverage for DTT. As such, 5G Broadcast supplements the unicast nature of on-demand consumption on mobile devices, maximising the benefits delivered by each infrastructure. In the case of broadcast, this means quality of service and service continuity, for example in the event of blackouts.

This high resilience is at the core of another key feature of the technology: its ability to warn the population in case of emergencies with multimedia content, not just text.

From the user’s perspective, the benefits of 5G Broadcast are clear: it is free-to-air, offers a high quality of service with no buffering, provides universal coverage and does not drain the battery or consume data — not even a SIM card is needed — while also reducing the carbon footprint for environmentally conscious users.

5G Broadcast technology has been successfully tested in Europe and beyond. At least 24 trials have been conducted in 18 countries, involving 67 companies ranging from broadcast network operators and broadcasters to equipment vendors, chipset manufacturers,

mobile phone manufacturers, research institutes, industry bodies, and car manufacturers.

These tests have demonstrated that 5G Broadcast technology is ready for deployment.

“5G Broadcast delivers live broadcasting to mobile devices using the UHF band currently used by digital terrestrial television (DTT)” Why is 5G Broadcast important to broadcasters?

Up to 20 broadcasters, including both public and commercial TV and radio services, have participated in the different trials run on European soil.

5G Broadcast enables broadcasters to reach their audiences on the devices they

5G BROADCAST

Secondly, phone vendors need to include 5G Broadcast as a feature of their 5G chipsets.

Although chipset manufacturers such as Qualcomm have already integrated this feature, vendors still need to include it in their product roadmaps. Given their early warning system capabilities, broadcast network operators are demanding that this feature be made mandatory, including an obligation for mobile network operators to enable free-to-air mode in devices containing 5G Broadcast chipsets.

now use, particularly young people. They can also do so without any gatekeepers, as users can tune in as easily as they can with a broadcast TV set.

In this regard, 5G Broadcast strengthens the requirement for universality of public service media, while also providing commercial broadcasters with new advertising opportunities.

What are the requirements for reaching the market?

Although the 5G Broadcast technology has been standardised within the 3GPP consortium and successfully tested, three conditions must be met for it to reach the market: Firstly, broadcast network operators must provide adequate coverage of the population and territory, given that consumption will be mobile.

Thirdly, broadcasters need to offer relevant content. While the simulcast of current channels will naturally be the initial content shown on 5G Broadcast, the service’s full potential lies in new formats designed specifically for mobile devices.

A likely scenario for 5G Broadcast Based on discussions with stakeholders and analysis of market trends, we have produced a forecast of the development of 5G Broadcast up to the year 2030.

Current industry discussions with smartphone manufacturers suggest that the first 5G Broadcast-enabled Android smartphones could be released in the first half of 2028. Naturally, these would be high-end devices, with more affordable devices following later. Mandating the inclusion of 5G Broadcast chipsets in smartphones would dramatically

accelerate their arrival on the market, including for iOS devices. The impact of this decision would likely be evident by the end of 2030.

In 2030, precisely, the FIFA World Cup could be the landmark event that raises awareness among users and boosts the adoption of 5G Broadcast.

By that time, the first original content for 5G Broadcast could have been commissioned.

According to this scenario, 5G Broadcast networks would cover 275 million citizens in 21 EU countries by the end of 2030, mainly outdoor coverage boosted in key transportation such as train stations and airports. This would represent 60% of the EU population.

The smartphone market would comprise more than 100 million 5G Broadcast-enabled devices by that time. This would translate into 12 million Europeans accessing linear TV via 5G Broadcast every month.

Naturally, these developments may differ depending on several factors, including the level of commitment shown by stakeholders, the availability of frequencies and sufficient bandwidth, regulatory (in)action, technical developments, user consumption patterns, and the general economic situation.

“The first 5G Broadcast-enabled Android smartphones could be released in the first half of 2028”

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END-OF-YEAR SPECIAL

The broadcast industry at a turning point: technology, talent and new models With an eye on the close of 2025 and the immediate horizon of 2026, we have consulted eight industry leaders who have collaborated with the magazine throughout the year, inviting them to share a reflection, based on their experience, on the year coming to an end and the one ahead. Drawing on their testimonies, we take stock of the year and anticipate the key factors that will shape the evolution of the broadcast industry

By Daniel Esparza

With insights from:

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Jon Wilson, CEO, Grass Valley

Simen K. Frostad, Chairman, Bridge Technologies

Jan Eveleens, CEO, Riedel Product Division

Scott Stiefel, CEO, Telos Alliance

END-OF-YEAR SPECIAL

The broadcast industry continues to move forward amid a complex process of transformation, in which new opportunities are emerging alongside significant challenges.

This is one of the key conclusions of 2025.

The transition is now unavoidable. However, when it comes to putting it into practice, difficulties arise that go beyond purely technological

considerations and force the industry to rethink its models, structures and priorities.

To take the pulse of this pivotal moment, we have consulted a selection of industry leaders who have collaborated with the magazine over the past year, asking them for a review of 2025, a look ahead to 2026, and a broader reflection on the levers that will drive

the sector’s growth in the medium and long term.

From this analysis, several common vectors emerge: the steady advance of the transition to IP; the progressive convergence of the broadcast, IT and ProAV worlds; growing challenges related to talent and cybersecurity; and, cutting across all of them, the impact of artificial intelligence. 

Andy Bellamy, Technical Director, AJA

Morten Brandstrup, Head of Newstechnology, TV 2 Denmark

Ubaldo Toni, Chief Technology Officer, RAI

Adde Granberg, Head of Innovation, SVT

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Artificial intelligence: from what can be done to what should be done

The debate surrounding artificial intelligence has entered a new phase. Its presence in the audiovisual industry is no longer in question, and the focus is now shifting towards its real impact, practical implications, regulatory frameworks and the ethical considerations associated with its use. These issues go beyond the purely technological, moving the discussion from what can be done to what should be

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done. In this context, 2026 is shaping up as a key year for separating the technology’s true potential from the noise generated by hype.

Jon Wilson (Grass Valley): “The leaders next year will be those who integrate AI with intention while augmenting people, not replacing them”

This is how Jon Wilson, CEO of Grass Valley, sees it, anticipating that next year’s major debate will revolve around the transition from experimentation to enterprise-scale integration of AI within live production workflows.

From his perspective, AI is already being progressively integrated into areas such as asset management, metadata enrichment, shot selection

END-OF-YEAR SPECIAL

and visual enhancement.

However, he warns that the real challenge will be bringing that intelligence into environments with smaller teams and dynamic budgets, without compromising quality.

Simen K. Frostad (Bridge Technologies): “We are entering the stage where the promise of efficiency has to be measured against issues of trust, integrity and creative responsibility” In this scenario, Jon Wilson stresses that the opportunity is clear, provided the technology is used with intent: “AI can remove friction, accelerate storytelling, and make high-production experiences accessible to more organizations than ever before. The leaders next year will be those who integrate AI with intention while augmenting people, not replacing them.”

A more cautious view is offered by Jan Eveleens, CEO of Riedel Product Division, who believes that for now, artificial intelligence remains in many cases more of a promise than a fully consolidated reality, although he anticipates a near-term inflection point.

“Artificial intelligence is also a frequent topic, but for now it remains mostly hype and is often used as a marketing buzzword. (…)

We will probably see more meaningful AI applications that deliver real value and make commercial sense.”

Along the same lines, Simen K. Frostad, Chairman of Bridge Technologies, agrees that the question of whether AI will enter the sector has already been settled, and points to 2026 as the year when the focus must shift to how it should be applied: “Our real hope is that the AI conversation will move on to something a little more substantial.”

As a result, factors such as ethics, transparency, authorship and impact on the workforce are beginning to take centre stage in

the debate, particularly in critical areas such as monitoring and quality control: “We are entering the stage where excitement gives way to scrutiny, and where the promise of efficiency has to be measured against issues of trust, integrity and creative responsibility.

The decisive question is no longer ‘can we?’ but ‘should we — and to what end?’”

Jan Eveleens (Riedel): “We will probably see more meaningful AI applications that deliver real value and make commercial sense”

For Scott Stiefel, CEO of Telos Alliance, artificial intelligence will remain one of the major buzzwords of the coming year, given the breadth of its impact across the industry. However, Stiefel introduces an important nuance by distinguishing between generative AI and agentic AI, pointing to the latter as having the most immediate

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potential impact in terms of efficiency and profitability: “By automating mundane yet time-consuming tasks, improving and simplifying QA, and improving overall performance of the broadcast chain, AI/ML has the potential to save millions for some broadcasters at a time when many are suffering from high costs and fierce competition.”

Scott Stiefel (Telos Alliance): “AI/ML has the potential to save millions for some broadcasters at a time when many are suffering from high costs and fierce competition”

From a public service perspective, Ubaldo Toni, CTO of Italy’s RAI, stresses that the proper use of artificial intelligence goes far beyond purely technological considerations: “The proper use of AI in the media world is an immensely important issue covering many

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facets (ethical, industrial, informational), and it requires personnel who are fully conscious of both the potential and the risks.”

A similar reflection is offered by Morten Brandstrup, Head of Newstechnology at TV 2 Denmark, who identifies the past year as one marked by a surge of hype around AI-driven content creation, albeit with many unresolved questions: “We need to see this potential proven, particularly in production and for live content.”

Looking ahead to 2026, Brandstrup anticipates that the debate will increasingly shift towards regulation and ethical implications: “As these technologies continue to evolve, it will be crucial for us to navigate the balance between innovation and responsibility.”

Ultimately, 2026 will be the year in which the industry

Morten Brandstrup (TV 2): “As these technologies continue to evolve, it will be crucial for us to navigate the balance between innovation and responsibility” begins to measure the real scope of artificial intelligence with greater precision. Are we facing a genuine game changer, or a technology inflated by expectations? For Adde Granberg, Head of Innovation at Sweden’s SVT, both realities will coexist: “For 2026, the primary topic will undoubtedly revolve around the impact of AI in our industry. Is it all hype, or is it a genuine game-changer? We will see both disruption and consolidation as AI continues to evolve and integrate into our workflows.” 

Adde Granberg (SVT): “Is it all hype, or is it a genuine game-changer? We will see both disruption and consolidation as AI continues to evolve and integrate into our workflows”

END-OF-YEAR SPECIAL

Talent shortage: the major bottleneck

The shortage of specialised talent has emerged as one of the key cross-cutting issues of 2025 and is shaping up as a structural challenge looking ahead to 2026. Many of the experts consulted point to this issue, agreeing that the sector’s technological evolution—driven by convergence with IT, cloud and IP environments—is advancing faster than organisations’ ability to

absorb it from a human and organisational standpoint.

From this perspective, Scott Stiefel (Telos Alliance) warns that, although broadcasters and content creators clearly want to move towards IT infrastructures, cloud production and IP transport, the industry still lacks a sufficient critical mass of professionals with the technical skills required to ensure a smooth transition.

Andy Bellamy (AJA): “Now is the time for the industry to start building a solid knowledge base of IP infrastructure and supporting technologies and invest in the right IT talent”

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Scott Stiefel (Telos Alliance): “Executives and finance teams are pushing hard to speed up this transformation but the technical staff is held accountable for the reliability of the broadcast and (rightly so) is risk-averse” “This creates friction in the organization as executives and finance teams are pushing hard to speed up this transformation but the technical staff is held accountable for the reliability of the broadcast and (rightly so) is risk-averse given the black-box nature and potential loss of control in these new paradigm.”

In this context, Stiefel highlights the key role of manufacturers, who are expected to help close this gap through more intuitive tools, automation, smarter workflows and highly qualified support services.

A similar view is shared

by Andy Bellamy, Technical Director at AJA, who notes that while baseband will remain a central element of workflows in the short term, the flexibility and scalability of IP will

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progressively drive its adoption. “Now is the time for the industry to start building a solid knowledge base of IP infrastructure and supporting technologies and invest in the right IT talent.”

Ubaldo Toni (RAI) places the focus on training young talent as a strategic priority. In his view, IT technologies—databases, virtualisation, file and media management— are already fundamental to broadcasting, but they come with specific requirements that demand sector-specific expertise: “Young professionals (…) should no longer be mere users of external software. They need to understand the underlying mechanics and be able to build solutions internally, or at least be able to effectively govern the various IT offerings,

many of which are not suitable for the media landscape.”

Toni also warns of the risks of uncritically applying IT practices from other sectors, particularly in areas such as cybersecurity, where a lack of specialisation can lead to both operational disruptions and critical vulnerabilities.

Cybersecurity itself is also emerging as a growing concern among industry professionals.

Jan Eveleens (Riedel) confirms that this issue is rapidly gaining weight in customers’ priorities: “In 2026, it will definitely become a more important element in their decision-making process.” 

END-OF-YEAR SPECIAL

Convergence of broadcast, enterprise, IT and ProAV Another major vector shaping the evolution of the sector is the convergence of the broadcast, ProAV, IT and enterprise worlds—a process that has already taken shape in 2025 and, according to the experts consulted, will continue to accelerate in the coming years.

Jon Wilson (Grass Valley): “Technology providers must rethink how solutions are designed and delivered. It is not about scaling down broadcast tools — it is about re-imagining them” Jon Wilson (Grass Valley) identifies this convergence as a key element in understanding the future

of the industry. In his view, the traditional distinction between broadcast and enterprise no longer makes sense in a context where audiences expect highquality experiences across all kinds of environments.

“To meet this shift, technology providers must rethink how solutions are designed and delivered. It is not about scaling down broadcast tools — it is about re-imagining them.

Organizations everywhere want to tell their stories with clarity, scale and impact.

Our job is to remove barriers so they can.”

Andy Bellamy (AJA) points to the convergence between broadcast and ProAV as one of the most significant developments of the year. As he explains, the narrowing gap between the two worlds has prompted integrators and audiovisual professionals

to upgrade infrastructures and workflows in pursuit of greater flexibility, scalability and quality.

“Many began experimenting with IP video and audio, whether through SMPTE ST 2110, Dante, NDI, or a combination thereof, and some even started to embrace ‘cinelive’ production.”

Bellamy notes that multiple verticals—from venues and universities to large corporations—are now focusing on improving the quality of content production and distribution.

This qualitative leap has translated into growing adoption of workflows with higher resolutions and high dynamic range. “While this trend unlocked new opportunities, it introduced challenges that necessitated color management and conversion workflow enhancements.” 

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Interoperability and collaboration: from theory to practice

Interoperability and collaboration emerge as another major area of consensus among the professionals consulted. This trend has already shaped the sector throughout 2025 and, according to the experts, will gain even greater importance in 2026 as a prerequisite

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for the evolution of the audiovisual ecosystem.

From this perspective, Simen K. Frostad (Bridge Technologies) stresses that one of the key lessons learned by the industry in recent years is that collaboration is more effective than competition

when it comes to driving progress. “We feel strongly that when companies work together on open standards, shared protocols and common goals — with the evolution of IP standards and collaborative frameworks such as IPMX and SRT — the entire ecosystem becomes healthier.”

END-OF-YEAR SPECIAL

Frostad emphasises that the results of this approach are already visible, particularly in terms of the democratisation of production. In his view, cooperation between companies has enabled advanced solutions to reach a much broader segment of the market.

Simen K. Frostad (Bridge Technologies): “the future belongs to those who contribute to the ecosystem, not those who guard their corner of it” The impact of this transformation extends across the entire value chain. “That shift benefits everyone,” Frostad notes, from manufacturers and system integrators to production companies, broadcasters and end audiences, who gain access to more diverse and higher-quality content.

In this new scenario, he concludes, “the future belongs to those who contribute to the ecosystem, not those who guard their corner of it.”

Another frequently cited example in this area is the emergence of Media eXchange Layer (MXL), an initiative that, in the words of Jon Wilson (Grass Valley), represents a turning point by moving “from talking about interoperability to actually achieving it at scale.” Wilson recalls that for years the industry has been constrained by closed systems and isolated workflows, and highlights how MXL breaks with that dynamic.

“This is not a theoretical architecture,” Wilson stresses, but rather the foundation on which

live media workflows will be built, offering lower latency, greater flexibility and genuine multivendor collaboration. In this sense, he defines MXL as a catalyst for the transition towards software-defined models and platform-level innovation.

This view is also shared by Jan Eveleens, CEO of Riedel Product Division, who confirms the company’s commitment to MXL and positions it as one of the key topics for 2026.

“One initiative Riedel will continue to pursue in 2026 is the MXL initiative,” he explains, highlighting its goal of creating an interoperable environment in which software containers from different vendors can coexist and exchange content efficiently. 

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END-OF-YEAR SPECIAL

Transition to IP: a hybrid approach 2025 has been marked by renewed momentum in the transition towards IP environments, a process that, according to the professionals consulted, will continue to advance throughout 2026. This is a complex transformation, shaped by technological, operational and economic factors, and many experts point to hybrid models as the most realistic path forward, at least in the short to medium term.

From his perspective, Simen K. Frostad (Bridge Technologies) believes that IP technology has finally begun to consolidate in a tangible way in the market, beyond the dominant rhetoric of recent years.

While a significant part of the industry has yet to adopt IP—particularly in production—he notes that momentum from both major and minor sports events is acting as a powerful catalyst for change:

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“With both major and minor sports events starting to really champion the potential of the technology in productions this year, both global and niche, we are seeing both top-down and bottom-up forces driving adoption and pushing the industry to a position where the on-theground reality matches the wider rhetoric we’ve been used to hearing.”

Andy Bellamy (AJA): “IP video is going to become more practical for facilities, but we’re going to continue to see hybrid implementations in the near term” Andy Bellamy (AJA) agrees that the transition to IP will remain central to industry debate, but stresses that progress will be gradual and most

likely delivered through hybrid architectures: “The transition to IP video will continue to dominate industry conversation in the year ahead, especially as SMPTE ST 2110 becomes more accessible and approaches like Dante and NDI continue to mature and see new adoption. IP video is going to become more practical for facilities, but we’re going to continue to see hybrid implementations in the near term.” 

END-OF-YEAR SPECIAL

Limited resources and public cloud: the cost dilemma

Pressure on financial resources is another recurring theme in the experts’ analysis, particularly within the public service domain. The combination of shrinking budgets, rising technology costs and changing licensing models is directly constraining the investment and innovation capacity of many operators.

From the perspective of public broadcasters, Ubaldo Toni (RAI)

describes a particularly challenging scenario.

“Unfortunately, the financial resources available to public broadcasters are continually shrinking, and the trend is strongly negative,” he notes, citing the BBC as a reference case for a situation affecting the sector as a whole. In this context, the central challenge lies in reducing costs without compromising the quality standards that define public service broadcasting.

Ubaldo Toni (RAI): “The true path forward is to invest in young talent and build competence internally, rather than simply acquiring readymade solutions” Toni also highlights another factor exacerbating this pressure: the sharp increase in software licensing costs and the

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gradual shift towards subscription-based models.

“These models are not ideal for large corporations that prefer to make capital expenditure (CapEx) investments to be amortized over several years,” he explains, warning of an imbalance that has led to reduced investment and what he sees as a worrying medium- to long-term technological dependency.

Morten Brandstrup (TV 2): “Without a committed effort to allocate resources and foster a culture that encourages creative thinking and development, we risk stagnation” In the short term, he acknowledges, priorities inevitably focus on cost-containment measures, such as reducing the industrial footprint in favour of more remote or “fluid” production models.

However, he warns of the risks this poses to final product quality and, by extension, to public service standards.

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As potential alternatives, Toni points to the use of open-source technologies or container-based virtualisation, while stressing that “their effective utilization requires a strong foundation of knowledge and training, elements that are increasingly difficult to cultivate compared to an off-the-shelf business solution.”

“The true path forward —though a challenging one—is to invest in young talent and build competence internally, rather than simply acquiring ready-made solutions from an industry that now seems focused only on short-term profit. I believe European public services should strongly share and develop this approach,” he concludes.

A similar concern is voiced

by Morten Brandstrup (TV 2 Denmark), who, while championing innovation as a vital driver for the sector, questions whether sufficient resources will be available to sustain it in the future. “Without a committed effort to allocate resources and foster

a culture that encourages creative thinking and development, we risk stagnation,” he warns, underscoring the need for continued investment to prevent a slowdown in industry evolution.

Jan Eveleens (Riedel): “In terms of public cloud, we see customers becoming more realistic as they gain a better understanding of the actual costs and the associated risks” At the same time, the cost debate also extends to the use of public cloud. Jan Eveleens (Riedel) observes a shift in customer attitudes, with organisations adopting a more pragmatic view as they gain a clearer understanding of real costs and associated risks. “In terms of public cloud, we see customers becoming more realistic as they gain a better understanding of the actual costs and the associated risks, especially after some of the major outages we saw in 2025,” he notes. 

END-OF-YEAR SPECIAL

The case of Brazil and TV 3.0

In this context of budgetary constraints and the search for new balances, certain projects stand out as potential reference points for the future of the sector.

Scott Stiefel, CEO of Telos Alliance, highlights in particular the rollout of TV 3.0 in Brazil, which he considers one of the most significant audiovisual developments of the year.

“For me, the most significant audiovisual development this year is Brazil’s rollout of TV 3.0,” he states, stressing that this is not merely a standards upgrade, but a profound redefinition of the free-to-air television model. The transition

to a fully IP-based national platform enables personalisation, immersive audio, interactive services and even targeted advertising, reaching more than 70 million households, many of them in regions with limited broadband access.

Stiefel places particular emphasis on the improved audio experience and the strategic value of launching the system ahead of the 2026 World Cup as an international showcase.

Beyond the specific case, however, he sees Brazil as a clear signal to the wider industry:

Scott Stiefel (Telos Alliance): “Brazil is proving that hybrid broadcaststreaming models are not just theoretical. They work, and they can renew the relevance of OTA everywhere”

“Brazil is proving that hybrid broadcaststreaming models are not just theoretical. They work, and they can renew the relevance of OTA everywhere,” pointing to both a reference opportunity for mature markets and a potential technological shortcut for countries with limited connectivity. 

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Growing momentum for LED solutions and software-based systems

Among the most visible technological advances of 2025, several experts point to the growing prominence of LED solutions in production environments, both for their creative impact and their operational and sustainability implications.

Ubaldo Toni (RAI) highlights in particular the progressive replacement of traditional

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set elements with LED screens and FloorLEDs, a shift he considers irreversible. Even in the case of high-quality displays—though not yet those with the extreme specifications required for full integration with virtual environments— costs continue to fall, while the advantages over conventional scenography continue to grow.

Ubaldo Toni (RAI), on LED solutions: “The advantage is so significant, and the future prospects are so promising, that Rai has launched into these investments without delay

END-OF-YEAR SPECIAL

“From a sustainability (ESG) standpoint, the benefit is also immense, as we no longer have to dispose of or recycle large quantities of these materials.

Furthermore, there are significant savings in the storage and movement/ logistics costs of the sets.

The creative possibilities are limitless, and the utilization of existing industrial assets (TV studios) becomes much more efficient.”

This technological progress, however, is not without its challenges. Adoption requires the incorporation and training of young professionals capable of mastering innovative technologies and tools such as CuePilot. Even so, Toni leaves no room for doubt: “The advantage is so significant, and the future prospects are so promising, that Rai has launched into these investments without delay,” noting that the broadcaster is currently equipping a large number of studios with LED walls and FloorLEDs.

the development of the software-based NEO system as one of the year’s most significant milestones, bringing new forms of production and operation under a single umbrella.

“Imagine moving from no prior knowledge, to just one day of practice, followed by a day of rehearsal, and on the third day, managing a live TV production that includes sound, graphics, replay, and more. This level of efficiency and accessibility is unprecedented!”

Granberg extends the reflection with a broader

message for the future of the sector. In his view, the industry must rethink its priorities and move away from an exclusive focus on traditional technical parameters, instead placing the end-user experience at the centre. “It's crucial for us to shift our focus from traditional production standards, which are often centered on pixels and bits, to prioritizing the end-user's experience,” he concludes, posing a question he believes will be key in the years ahead: “Are we doing things right, or are we doing the right things?” 

Adde Granberg (SVT): “It's crucial for us to shift our focus from traditional production standards, which are often centered on pixels and bits, to prioritizing the end-user's experience”

From another perspective, Adde Granberg, Head of Innovation at SVT, identifies

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CYBERSECURITY

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DELOITTE

Cybersecurity:

Thecornerstoneof thenewbroadcast era —Aguidetoasecuretransformation We explore the main challenges faced by the broadcast industry — and the keys to overcoming them — with insights from Hugo Izard, Cybersecurity Partner at Deloitte, and María Rodríguez, Cybersecurity Expert at the same firm

By Daniel Esparza

When we think of physical security, few question the need to protect spaces from external threats.

Locks, keys, CCTV systems, and alarm devices are part of our everyday lives. Yet, when the risk moves into the digital realm, the perception of danger tends to fade — leaving organizations exposed to threats that are just as real.

The broadcast and ProAV industries provide a clear example. The transition to native IP environments has given rise to an increasingly virtualized ecosystem, where software and cloud services lay the foundations for producing, managing, and distributing content with greater flexibility, scalability, and efficiency. In this context, cybersecurity becomes, more than ever, a strategic pillar that must evolve in step with technological innovation.

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CYBERSECURITY

To delve deeper into this transformation — and the risks it entails — TM BROADCAST spoke with Hugo Izard and María Rodríguez, who shed light on the key issues at stake.

the technologies that will support the Games between 2026 and 2032.

Although Deloitte is not traditionally associated with the broadcast world, its contribution to this market is significant. As they explain, the firm’s role within the broadcast and ProAV ecosystem is built around two main pillars: first, to add value to the sector’s technological transformation through integrated, differentiating solutions; and second, to safeguard operations and critical workflows in an environment defined by total connectivity.

According to Hugo Izard and María Rodríguez, the shift toward IP-, cloud-, and software-based models has not always been accompanied by an equivalent level of maturity in terms of security, governance, and risk management.

Among its most notable initiatives is the Sports Innovation Hub, a space created to accelerate the technological transformation of sports, through which Deloitte collaborates in the digitalization of the Olympic ecosystem — covering design, implementation, and the cybersecurity of

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Cybersecurity: From a barrier to innovation to an enabler

The shift toward IP-, cloud-, and software-based models has not always been accompanied by an equivalent level of maturity in terms of security, governance, and risk management “For a long time,” they acknowledge, “the sector tended to perceive cybersecurity as a constraint or limiting factor — a layer that slowed down innovation efforts and reduced the agility of technical teams during critical operations.”

At Deloitte, the goal has been to reverse this perception and demonstrate that cybersecurity can actually empower innovation rather than hinder it.

“We’re not exaggerating when we say that this has been one of the major cultural challenges we’ve been helping organizations to overcome.

Our work — as trusted advisors, often positioned on the first line of defense — has precisely consisted of changing that perception,” they explain.

Their approach focuses on listening to both technical teams and management, understanding why security was viewed as a roadblock,

DELOITTE

and transforming that limitation into a genuine enabler. “When cybersecurity is intelligently integrated — aligned with the organization’s own culture and embedded in its native technology strategy — it ceases to be an obstacle and becomes the very foundation that allows innovation to thrive with confidence.”

The main challenges for broadcasters The challenges facing broadcasters are not only technological, but also structural, operational, and cultural, Deloitte points out.

One of the most evident is the protection of hybrid and distributed environments,

where IP infrastructures, legacy systems, and cloud solutions coexist. This convergence expands the attack surface, complicating visibility and control over the multiple flows, devices, and users involved in content production and distribution.

Added to this is the need to balance agility and security in an environment where immediacy and on-air continuity are non-negotiable. “The only way to achieve this,” Deloitte explains, “is by integrating cybersecurity from the very design of processes — Security

by Design, as we call it.

This methodology is a fundamental pillar and

should not be added at the end as a superficial layer, which, instead of helping, becomes a nuisance.”

Another sensitive point arises during the coverage of major events, where the workforce expands exponentially and depends largely on freelance technicians and external providers. “This model introduces new risks such as temporary access, personal devices, and heterogeneous environments — all of which require robust identity controls, segmentation, and traceability, as well as a shared security vision and culture among all parties involved.”

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CYBERSECURITY

The heterogeneity of the broadcast ecosystem is also reflected in its technological diversity and the absence of common standards. Within the same environment — Deloitte notes — manufacturers, protocols, and platforms with differing levels of maturity and security coexist, “sometimes even with technical incompatibilities that can affect the performance of cybersecurity solutions.”

This reality forces the industry to design broader and more adaptive protection strategies, capable of connecting very different realities under a single, trusted framework.

Addressing the new challenges In this scenario, awareness stands as the first line of defense. No matter how many protective

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layers or technologies are implemented — even with substantial budgets — the main vulnerability will always be the human factor. “For this reason,” note Hugo Izard and María Rodríguez, “employees, freelancers, and temporary external staff must all receive proper security awareness training, aligned with their specific roles and daily responsibilities.”

Building on that foundation, Deloitte’s experts highlight the importance of designing network architectures based on segmentation and the principle of least privilege, integrated from the outset in the system design. “For this segregation to be effective, it must take into account the critical audiovisual network — whose exposure to the Internet must be extremely limited — and

the control network, which may have potential Internet access. Both must always be protected through perimeter firewalls, creating a DMZ zone.”

“When cybersecurity is intelligently integrated, it ceases to be an obstacle and becomes the very foundation that allows innovation to thrive with confidence” The protection of critical devices through EDR (Endpoint Detection and Response) solutions and the use of secure remote access technologies — such as VPNs or Zero Trust architectures — are also regarded as essential pillars for ensuring secure operations.

When video signal communication takes place over external networks,

DELOITTE

Deloitte recommends applying Trust Boundary technology, as defined in SMPTE RP 2129.

“This security mechanism provides key features such as monitoring, bandwidth control, replication, and protection. Such control over UDP video communication reduces risk in video transport and prevents disruptions to availability. To this, proper network segmentation must always be added, as it remains a critical component of security.”

Artificial intelligence: opportunity and risk Artificial Intelligence (AI) has made a powerful entrance into the audiovisual industry — one that has embraced it with enthusiasm — and it promises to transform production, postproduction, and distribution workflows.

Today, AI algorithms are already capable of editing, cataloguing, subtitling, personalizing user experiences, and even making decisions in real time. However, there is still a long way to go, and it remains crucial to test use

cases in real environments before broad adoption.

Deloitte emphasizes that, when properly managed, AI can become a powerful accelerator of efficiency and quality in broadcast operations. Yet the firm also warns about its less visible side: without a strong security foundation and proper data governance, AI can quickly turn into a critical vulnerability point.

“Each time an AI model enters the content value chain,” they explain, “potential cracks may appear: training datasets that include sensitive or copyrighted information, manipulated or compromised models producing altered results, deepfakes that undermine the authenticity of the signal, or automated decisions without human supervision that negatively impact broadcast output.”

“We must know where the data resides, which legislation applies, and how its integrity, availability, and recovery are ensured in the event of failure or cyberattack”

For this reason, Deloitte recommends implementing specific governance frameworks for AI that ensure traceability of processes, data protection, and content integrity.

These frameworks should include access controls, audit systems, source validation mechanisms, and early anomaly detection tools.

“All of this,” they add, “must go hand in hand with AI regulation, whose European framework came into force in 2024.

This regulation should always be considered — particularly when dealing with sensitive information.”

Migration to the cloud: Security in distributed environments The ability to work remotely, scale resources on demand, and connect geographically dispersed teams has driven massive adoption of cloud-based models across the industry.

However, this evolution has also introduced a new set of challenges.

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CYBERSECURITY

“The first key aspect,” Deloitte explains, “is that organizations must ensure proper management of identities, access, and privileges in the cloud.

In environments where multiple teams and providers interact, logical segmentation, multi-factor authentication, and the principle of least privilege are non-negotiable to prevent unauthorized access or accidental or malicious data exfiltration.”

Another critical aspect is the protection of signals and data in transit. Endto-end encryption and continuous infrastructure monitoring — through SIEM or XDR solutions, or native tools provided by each cloud vendor — make it possible to detect and respond to incidents in real time, minimizing their impact on ongoing broadcasts or productions.

Finally, Deloitte underscores the importance of reinforcing data governance and sovereignty: “We must know where the data resides, which legislation applies, and how

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its integrity, availability, and recovery are ensured in the event of failure or cyberattack.”

“In this context,” they add, “it is essential for cybersecurity teams to lead the definition of control and oversight models, working in close coordination with compliance departments and, where applicable, the Data Protection Officer (DPO). This ensures that technical and regulatory criteria evolve in the same direction, avoiding overlaps or grey areas of responsibility.”

Real-world projects and case studies Deloitte’s international experience includes high-impact projects focused on protecting broadcast infrastructures for major sporting events

— characterized by their technological complexity, geographical dispersion, and the heterogeneity of the teams involved.

In these projects, the firm distinguishes between two key phases: readiness and operation.

“The first phase focuses on planning, knowledge, and operational maturity. The main goal here is to assess the organization’s current cybersecurity posture and maturity level, and to design a long-term transformation plan aligned with business objectives and the unique characteristics of the broadcast ecosystem.

During this stage, we review the security architecture, network segmentation, and critical systems, mapping the specific risks associated with signal production and distribution.

“Each time an AI model enters the content value chain, potential cracks may appear: training datasets that include sensitive or copyrighted information, manipulated or compromised models producing altered results, deepfakes that undermine the authenticity of the signal, or automated decisions without human supervision that negatively impact broadcast output”

DELOITTE

We also provide hardening guidelines.”

This phase also includes the creation of a global governance framework integrating risk management, regulatory compliance, international certifications, and business continuity and cyberresilience plans — all with the aim of establishing the conditions required to operate with confidence in highly critical environments.

The second phase corresponds to the

operation of the live sporting event, where Deloitte deploys a comprehensive cybersecurity ecosystem and realtime infrastructure. “This environment includes both digital security experts specialized in broadcast environments and a dedicated Security Operations Center (SOC) responsible for real-time monitoring, detection, and response. Operations are managed both onsite at the event’s command

center and remotely from our Sports Innovation Hub (SIH) in Madrid [Spain], supported by internationally distributed teams to ensure continuous 24/7 coverage.”

This integrated model, combining local capabilities with global resilience, has enabled Deloitte to coordinate end-to-end security, align teams under a shared vision, and ensure continuity, traceability, and trust throughout the entire broadcast operation.

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INDUSTRY VOICES

Craig Heffernan, EMEA Director at Blackmagic Design:

Craig Heffernan

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“We’ve often found that AV customers are faster at testing and investing in new technologies”

CRAIG HEFFERNAN

Blackmagic Design has played a decisive role, from the very beginning, in democratising access to professional technology worldwide.

Among its guiding principles is a firm commitment to delivering high-quality performance at competitive prices. “Our ethos as a technology manufacturer is that budgets should never be an obstacle to creative professionals — that access to premium products should not be restricted and limited to everyone by premium pricing,” explains Craig Heffernan, EMEA Director at Blackmagic Design.

Craig Heffernan, now focused on business development and strategic planning withinthe company, is this month’s featured guest in Industry Voices, which highlights influential leaders and executives taking on new responsibilities

Craig Heffernan is this month’s guest in the Industry Voices section, which features some of the most influential figures in the sector, with a particular focus on executives taking on new responsibilities. In his case, at the beginning of 2025 he shifted his focus to business development and strategic commercial planning. Heffernan has been a Director at Blackmagic Design for seven years, previously concentrating on pre-sales technical, sales support and training services. 

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INDUSTRY VOICES

In this conversation, we discuss how Blackmagic is navigating a context of global instability, as well as the differences he sees between broadcast and AV clients, among other topics.

The full interview follows below: You’ve been serving as EMEA Director at Blackmagic Design for nearly a year now.

How would you assess this period so far?

I’ve been a Director at Blackmagic Design for 7 years, previously focusing on our pre-sales technical, sales support and training services, but at the start of 2025 I moved to concentrate on Business Development and strategic commercial planning. My role places me in the ‘space’ between our Marketing and Sales Directors; working to guide our own teams and channel partners as we adapt to market challenges and introduce new products, technologies and workflows.

This change was part of a wider restructuring of our business in EMEA,

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recognising that, as we continue to grow as a technology manufacturer, we need to maintain a strong emphasis on working directly with customers across market verticals, ensuring they are aware of emerging and evolving solutions for their businesses.

About his new role: “It’s been an interesting shift from a technical, product-oriented leadership role focused on what we can offer today to one that demands deeper consideration of what is coming next”

It’s been an interesting shift from a technical, productoriented leadership role focused on what we can offer today to one that demands deeper consideration of what is coming next and seeks to build strategic plans that ensure our teams are best prepared to proactively support customers.

What are your strategic objectives for the EMEA region in the coming years?

We’re moving through a period in our product lines where we are updating and evolving underlying technologies; building exciting new workflows that hopefully solve issues for customers and offering cost-effective, efficient tools to creative people so they can work closer together and deliver their vision to audiences faster and on budget.

We’re continuing to fine-tune and improve services within Blackmagic Cloud. This isn’t a basic cloud service that offers online storage or access to software, but one that is dedicated to collaborative workflows – linking teams with shared projects, globally synced media and fast deployable tools to support productions and deliver content live, online and through post-production, all with DaVinci Resolve at the heart of the production management and delivery.

CRAIG HEFFERNAN

“The benefit of owning our own manufacturing is that we have some control over working within the tariffs applied to certain countries” Elsewhere, 2110 IP continues to grow in breadth and depth in our products. We introduced our first IP-based products a few years ago and worked closely with customers to understand how we can introduce additional 2110 IP products as a foundation for their studio installs or field-based kits for productions or events. Along with the introduction of our own 10-bit, broadcast-quality codec – Blackmagic IP10 – we have an incredible, pixel-accurate transmission system for HD and Ultra HD that’s fast to deploy and incredibly affordable as an SDI alternative.

How is the company addressing the current global context, marked by instability and more restrictive trade policies?

It’s a constant challenge and one that involves coordination with our colleagues across our

global offices, and with our CEO, Grant Petty, in Australia. We believe we are agile and adaptable enough, as a privately owned manufacturer, to respond quickly to a highly unpredictable worldwide situation. It’s really about working together internally, monitoring updates and ensuring the impact on our customers is as limited as possible.

Alongside this, the benefit of owning our own manufacturing is that we have some control over working within the tariffs applied to certain countries.

It’s obviously not a situation we can entirely control, so we’re committed to being open and honest with customers on the situation when it changes, as we were earlier in the year with US tariff changes, and we often work to absorb currency fluctuations rather than passing these costs to customers.

How has the profile of Blackmagic’s customer base evolved in recent years? Which new segments are growing the fastest?

I believe the line is gone…

10 to 12 years ago, we saw growing interest and investigation of broadcast products and solutions across various AV verticals, starting in staging and rental for live event production and expanding from there.

“We’ve often found that AV customers are faster at testing and investing in new technologies, usually because they have more freedom to experiment or respond to market developments” Today, our broadcast systems for vision mixers, digital glue, monitoring, cameras and streaming encoders are deployed across a wide range of AV projects, from events and staged performances to house of worship, education and more.

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INDUSTRY VOICES

“It’s ingrained in our thinking and in our industry to accept that if something costs more, it must be of higher quality, and conversely, priced products must be poorer. That’s simply not true nowadays with technology”

This encompasses customers with smaller studio installs through to our work on global, world tours, such as the Billie Eilish ‘Hit Me Hard and Soft’ tour, built with Blackmagic Design to deliver complex live performances to thousands of fans at stadium venues.

We’ve often found that AV customers are faster at testing and investing in new technologies, usually because they have more freedom to experiment or respond to market developments than slower-moving broadcast companies, which are often locked into their production toolsets for longer. With this in mind, when we design and bring new production hardware to market - for example our ATEM production switchers - we often reach out to key customers for their

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insight, and always consider what AV customers would require or how they will utilise them.

What role does price accessibility —one of Blackmagic’s hallmarks— play in your mid-term strategy?

It’s vital. Our ethos as a technology manufacturer is that budgets should never be an obstacle to creative professionals - that access to premium products should not be restricted and limited to everyone by premium pricing. This has been a foundation for Blackmagic Design since our early days.

Unfortunately, price perception bias has always been an issue we have had to fight. It’s ingrained in our thinking and in our industry to accept that if something costs more, it must be

of higher quality, and conversely, priced products must be poorer. That’s simply not true nowadays with technology.

However, it’s not enough to say we want to keep products accessible; we have had to take the time to ensure products are what we say they are, and we have to continue to drive innovation and ensure we build trust with customers.

We feel we’re earning that trust all the time, and our brand’s perception has shifted over the years through being true to our ethos and doing right by our customers. Beneath all of this, we invest heavily in our own company and our own production facilities and factories, ensuring quality and reliability and managing final product costs for customers.

Which areas of technological innovation are you currently focusing on?

We’ve recently introduced several technologies that we believe elevate our products and drive innovation from Blackmagic Design.

CRAIG HEFFERNAN

Our URSA Cine 17K 65 digital camera opens the door to shooting IMAXlevel digital film content, which is out of reach for all but the biggest Hollywood feature budgets, and is underpinned by a new RGBW large-format sensor for incredible image reproduction and colour fidelity. Alongside this, URSA Cine Immersive is the world’s first camera system specifically designed to shoot for Apple Immersive Video formats, with dual 8K RGBW sensors and a designed Immersive workflow through DaVinci Resolve for Apple Vision Pro. Both of these cameras have potential for AV applications to build new, exciting creative customer experiences.

At an infrastructure level 2110 IP is a core innovation that we see offering fast and affordable pointto-point solutions for lightweight IP installs. The benefits will reduce cable costs and weight, introduce greater network control and distribution, and better integrate multiple production deliverables for live and online audiences.

As we reach the end of the year, which innovation, trend, or news story would you highlight as the most significant in the audiovisual industry in 2025?

We are really excited to see how new Immersive formats will be adapted

and used to create new experiences for customers.

Early productions in the summer of 2025 utilising Blackmagic immersive products and workflows, have already taken customers to sporting and music events you couldn’t experience without a ticket.

It’s still early days for this emerging technology, but it’s already proving to be an amazing addition to 360 VR, XR and AR formats used

by AV companies to build content for their audiences.

As immersive formats and workflows develop, it will be great to see how they expand into live-streaming content for Immersive – letting you be part of concerts, games and events as they happen! 

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SHOWS

BITAMShow strengthensitsinternational profile, n ai p S in es iti n u rt o p p o s es n si u b y b n drive

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BITAM 2025

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SHOWS

The leading annual trade show for the Spanish audiovisual market recorded a stronger international presence at this year’s edition than in previous years. In this article, we gather the views of some of these professionals to analyse what led them to attend the event and to assess their overall impressions

By Bárbara Ausín

Over the years, BITAM Show has established itself as the leading annual trade show for the Spanish audiovisual market. TM BROADCAST, as the event’s official media partner, attended the show on 19 and 20 November in Madrid to see first-hand the full showcase of new solutions and to gather feedback from exhibitors and visitors.

One of the general impressions we took away—later supported by the official figures released by the organisers—was the increased international

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presence compared to previous editions.

We spoke with many of these professionals, and in this article we aim to review why they attended the event and what their overall assessment was.

Specifically, BITAM Show welcomed professionals from 14 countries, including Portugal, France, Germany, the United Kingdom, Italy, the Netherlands, the United States, China and Japan.

Broadly speaking, they came to the Madrid Arena Pavilion to open up new

business opportunities in the Iberian market or to strengthen their presence in the region.

BITAM Show 2025 closed its 12th edition with a total of 8,093 attendees—a figure almost identical to that of the previous year— and 371 participating companies spread across 7,880 square metres of exhibition space.

Likewise, the Spanish edition of TM BROADCAST hosted a special conference during the event, with RTVE as

BITAM 2025

the main focus. The session outlined the Spanish public broadcaster’s strategic roadmap and addressed the key aspects of one of its flagship projects of the year — La Vuelta a España — led by the main executives and technical managers involved.

“Spain is our biggest market for the second-hand equipment that we are selling from the Nordic countries.

For us, it’s the second year, and it’s been a great success with meeting both many old customers and several new ones,” explained Magnus Ljungmark, Managing Director at Gearwise AB. Some exhibitors opted for customised spaces through their own stands, while others shared space with partner companies to strengthen joint visibility. This was

the case for AJA, which attended alongside its newly appointed distributor in Spain, Comline, as well as Adder Technologies and Intronics.

“Intronics is our distributor here in Spain,” clarified Nicolás Borgogne, Strategic Sales Director at Adder.

“We always work very closely with them, and BITAM offers us, year after year, that networking opportunity with people from the local—especially Spanish—market and the broadcast sector, which is very important for us.”

Carlos Celorrio, from Intronics, shared this view: “It’s mainly about seeing people we don’t usually get to see. I’m based in London, and BITAM allows me to put faces to names and make new contacts.”

“I think the main attraction is bringing together all

“BITAM offers us, year after year, that networking opportunity with people from the local—especially Spanish—market and the broadcast sector, which is very important for us”

the leading brands that operate in Spain and being present here. It allows people to get to know the products and the way we work,” added Alex Ferrer Cano, Commercial Director at Beamz.

There were not only returning exhibitors, such as Dahua, attending for the third time, but also companies making their debut at this audiovisual showcase. David Ferraz, Sales and Marketing Manager at 10K Used Gear, summed up his experience as follows: “10K has been around for nearly 20 years as a business and is already a relatively well-known company in Spain. So it’s been quite wonderful to see a lot of people coming to us and saying, ‘oh, we know you’, ‘we know your website’, ‘let’s talk a little bit more’, ‘we’ve got some stuff to sell’, ‘we want to buy some other stuff’… And that would never, never happen at a large trade show.

This is so overwhelming, and normally they don’t have time to speak with everybody, so this is a perfect place to be able to reach out to those people.

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SHOWS

Andy Bellamy, Technical Director at AJA, also shared his perspective on the Spanish market, describing the country as being in a “pretty exciting time”: “Being part of that, or even not being part of it, just tracking what’s going on is really important as well. It feels like, from an economic standpoint, the country is doing well. And there’s a sense of optimism when we speak to customers as well, which is nice. They’re wanting to build for the future.”

“At other trade shows, there simply isn’t enough time to spend properly with distributors, rental companies and integrators.

BITAM is a good space to offer a more dedicated level of attention,” said Alba Díaz Crespo, International Communications at Fohhn Audio AG. Taking advantage of its strong growth, the German company attended the show to introduce the brand beyond its traditional comfort zone.

“It’s mainly about seeing people we don’t usually get to see. I’m based in London, and BITAM allows me to put faces to names and make new contacts”

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A tour of the latest innovations The exhibition hall was divided into three thematic areas: Live & Entertainment, Audiovisual Integration, and ProVideo/Broadcast.

In the Audiovisual Integration area, Dahua showcased its solutions, combining networking and hospitality with its LED displays, COB technology and transparent holographic solutions.

Fernando Serrano, Pro AV Sales Manager at Dahua Iberia, highlighted that the stand attracted “quite a few new customers we didn’t know before, even from other sectors such as

BITAM 2025

audio and lighting.” Infiled, meanwhile, presented its all-in-one 136 Orion LED Series, while also looking further ahead: “We have quite a few projects already lined up that will start to emerge in 2026.”

This area was rounded out

by AV/KVM solutions from ACT Connectivity Solutions, Adder Technology and Matrox Video; loudspeakers and software from Fohhn; and the presence of ISLE—one of China’s leading audiovisual trade shows—which decided to send a delegation to the event, aware of the strong momentum currently being experienced by the Spanish market.

The Live & Entertainment zone featured the strongest presence of international companies.

10K Used Gear used the opportunity to present its latest updates to its online marketplace; Leroy LED Technology literally drew attention to the ground with its LED floor display; Beamz showcased Ignite moving heads, the Nereid series and the PDY loudspeaker range, among other solutions; Cromalite presented the latest trends in LED and COB lighting, including bi-colour and RGB solutions; while Robisa’s stand featured Peli’s latest transport cases and Hollyland intercom systems.

“At other trade shows, there simply isn’t enough time to spend properly with distributors, rental companies and integrators.

BITAM is a good space to offer a more dedicated level of attention”

For some exhibitors, whose day-to-day customer interactions are largely limited to phone calls or emails, BITAM offered an opportunity to strengthen personal relationships that are often lacking in everyday business. “We can see, after the pandemic

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SHOWS

and the years since, that it’s more important than ever to have actual meetings in person to develop strong relationships,” shared Magnus Ljungmark, from Gearwise AB.

“We can see, after the pandemic and the years since, that it’s more important than ever to have actual meetings in person to develop strong relationships”

Along the same lines, a representative from Dutch company Rentman added: “We wanted to take the opportunity to travel to BITAM to meet all our customers in person and to try to acquire more companies.”

A younger audience The show stood out not only for its international presence, but also for attracting a younger audience in a market characterised by constant change and innovation.

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“One thing that I noticed here at the show is that there is a younger generation starting up new businesses and excited to be working in the industry. That’s something we know is a big problem in Northern Europe and Scandinavia. So, I’m very happy to see that there seems to be a generational shift,” said Magnus Ljungmark (Gearwise).

Cromalite offered a possible explanation for this perception: “There are always a lot of young people working in the audiovisual market because it’s highly technological, which naturally leads to renewal.

In areas like programming today, the typical profile is under 40. There is ongoing staff turnover, and that’s positive because it allows

new people to come in. It’s a market that is, right now, in a very good moment, largely due to the technological shift that has taken place in recent years.”

Ultimately, the leading reference event for the Spanish audiovisual sector once again served as a platform to showcase new solutions, a meeting point, and a space for debate and reflection—above all, a place to bring professionals together and share insights and innovations in an increasingly saturated industry. “I think BITAM, the way they’ve marketed the show and the type of deal they’re willing to offer, is perfect, because it brings exactly the customers we’re interested in,” concluded David Ferraz (10K Used Gear). 

“One thing that I noticed here at the show is that there is a younger generation starting up new businesses and excited to be working in the industry”

BITAM 2025

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Thank you very much for joining us for another year!

See you on October 28 and 29, 2026

www.bitamshow.com